All releases are similarly flatly packaged - on plain white textured card stock, with only artist, title, and size of typewriter-like font distinguishing one release from the other, plastic envelope needing to be peeled to reveal.

Not that Wells himself is new (first heard round here with Paul Bradley on this little number), but he’d been AWOL a while till this rather lovely little piece of droneiness plopped onto my pile, serving notice of SiriDisc - read about Rojo more here, it's to five newer works we now look.

Foce (=‘estuary’ It.) finds the euphony of Wells’ Scots swells deserted for more dissonant sculpting in an exchange with Buenos Aires bruitist, Juan Jose Calarco, who gives us a noisy kick-start of glitch-like hiss-stutter that paves the way for roiling drones drawn from fiddled-with field findings. Calarco hosts a harsh clattering of what sounds like instruments scattered through these fields - atonal flurries that set them in a more musicized frame. Wells’ approach is to retain the original sonorities of his in a collage-like approach, while Calarco’s captures less recognizable due to processing. The two are kindred sonic spirits, though individually voiced, differently documenting water flow, from droplets to torrents. A bonus ‘mix’ by Simon Whetham, another inveterate field worker, is nicely perched in between, with percussive metal rumblings whose accidental tonalities endow it with some pitched intrigue.

A theme of discord is seemingly behind Christopher McFall’s eerie An Eris 23 (Eris being the Greek goddess of strife), though you wouldn’t know it, for it’s not a notably discordant addition to McFall’s often atonal repertoire. Quite the contrary, as he augments his customary fuzzy field fare with warped piano and broken turntable loops. The first piece, unusually musically consonant, has rippling piano tones looping a felicitously warped chord progression - a piano that’s revenant, appearing later to haunt, set against a more familiar McFall backdrop, drawn from his greyscale palette – nocturnal hum, low-end micro-events. An Eris 23 seems more evacuated than usual, the integration of instrument sounds and a more subtle approach to processing resulting in a work that departs from the general tenor of his catalogue – a forbiddingly ample one, but listen/read here, and try these for free: Greyscale is Failing, A Long Time Running for The Suicide Strays).